3d Painting Room

[Martha Weitz]

wellchatty handan, i read it all ha ha and i must say you did a good job with it, i was married to a painter for twenty some years and although he passed away in 1996 as i read i could still hear the words from his mouth matching your written words, he would have hired you in a new york minute xx

I read the whole thing also. It is not story telling like Greg, but it is great and useful information. Will be pinning it. Btw Handan, seeing you on the large scaffold in a prior post of your 2 story den was very motivating. You rock!

Hi Handan hope you all had a nice Christmas, Happy New year to you guys! Lots of good info here that you put out! I have learned a few hard lessons along the way with painting and choosing the right color thats for sure. I wish I had this info you put out years ago, LOL.

I am so glad you liked it, Michelle! ? I know this was a pretty long one, but I wanted to include everything in one post instead of scattering them into several small posts.

Oh that grid and the paint bucket are the best things ever as they make the whole painting process go faster. ?

Thanks for sharing this past week at the Inspiration Spotlight Party. Both Your tutorials were awesome. We are featuring this tutorial Friday! Hope to see you again. Feel free to share any of your posts. Pinned & shared. Theresa @DearCreatives

I liked that you said that one thing to consider when you are in need of a new painting in your home is to compare the price of paint in order to find one that is within your budget. I have been thinking about painting my home again but I have been worried about the cost. I will be sure to consider comparing the pricing of different brands in order to find one that I can afford.

There was a natural blue light coming from a window in the hallway out of shot to the left, and an orange incandescent wall lamp, higher up on the right, both contributing to the warm and cool tones in the flowerheads.

To give the sense of a sun-drenched interior, I wanted a rich, vivid yellow underpainting. Take some Titanium White and add a little Cadmium Yellow Light, then add a speck or two of Permanent Alizarin Crimson to warm the yellow mix.

I want to establish the tonal values in monochrome first, this helps to check your drawing and tonal hierarchy before committing to colour. By diluting the Burnt Umber with varying amounts of water you can change the perceived tonal value, the more water used, the more the paint has a transparent watercolour feel.

The image can roughly be split down the centre into lights and darks. Your eye will always be drawn to the lightest section within a composition first, so the room in the distance being flooded with sunlight, adds to the illusion of depth by directing the line of sight into it.

For this painting, I tried out a new brush by Princeton, it has a bright shape, which is similar to a flat but with a slight curve at the edge. Princeton uses a Polytip feature, below you can see an example of the bristle in a filbert shape.

Because of the warmer incandescent bulb, I wanted to give the sense of a glow of orange light on the right-hand side of the painting. Using Burnt Sienna diluted with Acrylic Glazing Liquid Gloss, I paint a glaze over the wall underneath the light source and then onto the seat of the leather chair in the foreground.

For the central purple band in the door, I added some Permanent Alizarin Crimson to my blue mix and lighted with Titanium White. Then, using a dry brush, I scumbled over the floor and the tiles using a muted yellow, also working it over the dark tiles to try and create that illusion of soft diffused light.

With a darker turquoise mix of Phthalo Blue & Burnt Umber, I begin to bring some of the blue shades from the door, through into the shadow side of the frame. I darken around the chair and paint in the marble tiles to increase the contrast in the foreground. Then with some pure Titanium White, I paint in the brightest highlights and reflections.

Using Cadmium Yellow Light and Phthalo Blue, I mix an intense green which I then tone down by adding a speck or two of Permanent Alizarin Crimson. With this dark green, I paint in around the shapes of the flower heads. By painting the darks first, I can start to assess my drawing and the balance between the tones in the shadows.

With some more Cadmium Yellow Light added to my green mix, I lighten the value (lightness or darkness) and the intensity of the green. This is painted with quick, spontaneous brushstrokes around the flower heads. I balance this green by painting a dull maroon colour, created from the Phthalo Blue and Permanent Alizarin Crimson around the leaves.

With a little Titanium White, I cool my green mix and then add a touch more Cadmium Yellow Light, these lightest areas of the leaves are then painted impressionistically on top of the darker tones underneath. Once the brighter leaves are in, I mix a cool lilac and block in the shape of the glass vase holding the flowers.

Using the lilac within the vase as a visual guide, I mix some pinky greys for the flower heads furthest from us. I then add a little Cadmium Yellow Light and Titanium White to warm and lift the value of the flower heads for the flowers closest to us.

I now step back from the painting and look for areas of my drawing that could be sharpened or corrected. I use a small round synthetic brush for a few lines under the lamp and add refinement to the drawing of the vase and some white highlights on the panelled wall.

Hi Tom, you could still follow along with oils, the same colours are also available in oil paint. A sable hair or synthetic mix brush will give you excellent control with fine soft details with oils.

Cheers,

Will

Thanks for uploading a great painting tutorial Will. A very atmospheric scene, demonstrating a tremendous impressionistic painting. The dashes of supersaturated colours really help you dart your eye around the piece. The complimentary influence between the orange lamp and blue door provides such a strong effect. I really learned a lot from it too. Thanks again Will.

Thank you Will . I am really enjoying working with Acrylics and this tutorial is very informative , love the impressionist feel. This is definitely the route I want to explore more so thank you for this free lesson.

. The Golden range of paints are a joy to use and after following your lessons on colour mixing that I purchased I have a better understanding of the use of colour and have found a new balance to my work.

Cheers Jan

Thank You Will! I love your story behind this painting and the painting its self. Thank You for your generosity in sharing your process. I look forward to trying it out with a biscuit and a cup O brew of course! ;)

Thanks for another excellent tutorial.

I just wanted to add that I really like your new web site format as it is really easy to navigate and find topics whenever an issue arises .

Thanks for all your help for us amateur artists and happy holidays to you and yours.

Mike (Ottawa, Canada)

I already had the pleasure of seeing many works in museums here in Brazil and other countries such as the Louvre and even in the National Gallery there in England. Since I am not an art student, my great frustration is not to have known your teachings before visiting these muses to better appreciate the depth of each work, of each painter. What a pity! I remember well when I spent just one day astonished inside the main museums of Florence. Certainly if at the time I had your teachings I would have spent a week!

Thanks Will I love your painting style , I think you are an amazing teacher I have enjoyed trying your lessons I got some great feedback on the one I recently completed the vase of flowers, Thank you for sharing this one cant wait to give it a go have a merry xmas and all the best for the new year

Cheers Gail

Just like any color you choose to incorporate in your home, black has a psychological impact. Black is a color often associated with mystery, drama, and sophistication. It can make a room feel cozy, intimate, and even a bit theatrical if used correctly. However, it can also really emphasize the size of a space, making smaller rooms feel claustrophobic.

Lighting is a crucial factor when considering a black-painted room. Natural light can work wonders in brightening up a space and making it feel more inviting. If your room has ample natural light, you might be more inclined to experiment with black walls.

One of the aspects of interior design that I find truly exciting is playing with color combinations. Black, being a versatile color, can be paired with a wide array of other colors to create different moods and aesthetics.

For instance, my favorite combination is black and white, creating a timeless, chic look. Black and gold or brass accents can bring a touch of luxury to your space, like I did in our powder bath. On the other hand, pairing black with bold, saturated colors can create a vibrant, energetic atmosphere. The possibilities are nearly endless, but the key is to balance the intensity of black with complementary colors.

If you want my opinion, black works best as an accent rather than the star of an entire room. After playing around with dark hues over the years, the subtlety and elegance of using black to emphasize specific elements in a room is the best way to use it.

Another way to incorporate black is through decor and accessories. Black can be incorporated anywhere (even a sink and countertop) for that added touch of drama and sophistication without taking over a space.

What do you think of an all-black room? Do you like the idea, or prefer black be used as an accent? Let me know in the comments! And to keep up with all the latest on the blog, check out my recent posts:

Last weekend, we painted the guest room a dark, inky charcoal--Farrow & Ball's Downpipe (this time we had it color matched at Sherwin Williams in an eggshell finish). I wanted to go for something dark in a blueish tone so the headboard would melt right into it and to be honest, the treadmill too.

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